Park University ICM Presents: Behzod Abduraimov, Piano and Daniel Lozakovich, Violin, 2024

PARK UNIVERSITY INTERNATIONAL CENTER FOR MUSIC PRESENTS

Behzod Abduraimov, Piano and Daniel Lozakovich, Violin

1900 BUILDING

APRIL 14, 2024 •

7:30 P.M.

Catering Confidence ... at no extra charge

A MESSAGE FROM PARK ICM’S FOUNDER

Dear Esteemed Patrons and Devotees of Music,

It’s not merely the notes that create a melody but the passion and dedication behind each one. As the Artistic Director of the International Center for Music, my journey in music has been deeply personal and profoundly enriching. The same fervor that drove me to delve into the depths of musical discipline drives our students, faculty, and guests artists. Their commitment to their craft is not only a source of endless inspiration but also what sets our program apart.

Kansas City is truly privileged, as within its bounds lies an audience with an appetite for genuine talent and a heart that beats in rhythm with the finest melodies. Our concert series provides an invaluable opportunity to experience this prodigious talent in an accessible manner, making world-class music available to all.

Our mission at the International Center for Music at Park University has always been clear – to offer an environment reminiscent of the intensive training I was fortunate to undergo, a space free from distractions where the sole focus is on achieving musical excellence without the burden of financial pressures.

In addition to our homegrown prodigies, the ICM Concert Series is also graced by legendary guest performers, individuals whose contributions to the world of music have been monumental.

As we usher in another season of musical brilliance, I warmly invite you to be a part of our melodious journey. Come, immerse yourself in a world where past, present, and future converge in harmonious symphony.

With profound gratitude,

Stanislav Ioudenitch Founder and Artistic Director International Center for Music at Park University

P.S. Each performance is a manifestation of our shared love for music. Your presence and applause amplify our drive to elevate the art form further.

Programme

BEHZOD ADURAIMOV, PIANO AND DANIEL LOZAKOVICH, VIOLIN

Violin Sonata No. 9 in A major, Op. 47 (“Kreutzer”)

............................................. Ludwig van Beethoven (1770-1827)

Adagio Sostenuto-Presto

Andante con variazioni

Presto

Sonata in A major for Violin and Piano

..................................................................

Allegro ben moderato

Allegro

Ben Moderato: recitativo-Fantasia

Allegretto poco mosso

César Franck (1822-90)

Sonata No. 1 for Violin and Piano in A minor, Op. 105

.......................................................... Robert Schumann (1810-56)

Mit leidenschaftlichem Ausdruck

Allegretto

Lebhaft

ABOUT THIS EVENING’S ARTISTS

Behzod Abduraimov, Piano

“Behzod Abduraimov has the magic touch.” The Times.

Behzod Abduraimov’s performances combine an immense depth of musicality with phenomenal technique and breath-taking delicacy. He performs with renowned orchestras worldwide including Philharmonia Orchestra, Los Angeles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, The Cleveland Orchestra, Orchestre de Paris, Concertgebouworkest, Czech Philharmonic, Vienna Symphony Orchestra, NHK Symphony and Rundfunk-Sinfonieorchester Berlin (RSB) with prestigious conductors such as, Santtu-Matias Rouvali, Gustavo Dudamel, Semyon Bychkov, Gianandrea Noseda, Juraj Valčuha, Vasily Petrenko and Constantinos Carydis.

2023/24 performances include Chicago Symphony, Mozarteumorchester Salzburg, Houston Symphony and Pittsburgh Symphony Orchestras, Oslo Philharmonic, Stavanger Symphony Orchestra including a tour of Spain and Belgian National Orchestra performing at the Concertgebouw, Amsterdam. Behzod will also appear with Adelaide Symphony Orchestra and Sydney Symphony Orchestra. Conductor collaborations include Osmo Vänskä, Juraj Valčuha, Constantinos Carydis, Robin Ticciati, Manfred Honeck, Yoel Levi, Han-Na Chang, Hannu Lintu and Andris Poga.

In recital Behzod has appeared a number of times at Carnegie Hall’s Stern Auditorium, Queen Elizabeth Hall in London and Amsterdam’s Concertgebouw, and has recently been presented by Alte Oper, Frankfurt, Toppan Hall, Tokyo, Teatro alla Scala and La Società dei Concerti di Milano. In 2023/24 Behzod will appear twice at Carnegie Hall – returning to the Stern Auditorium for solo recital, followed by a duo recital with Daniel Lozakovich at the Weill Auditorium. The duo will present recitals elsewhere in North America including Bing Hall, Stanford, and the Vancouver Recital series.

Behzod will also perform in recital at the Seoul Arts Centre, Shanghai Concert Hall, Amare Hall, Hague and the Tuesday Evening Concert Series, Charlottesville. Regular festival appearances include Aspen, Verbier, Rheingau, La Roque Antheron, Lucerne and Ravello festivals.

Behzod’s second recording for Alpha Classics, featuring works by Ravel, Prokofiev, and Uzbek composer Dilorom Saidaminova, was released on 12 January 2024. The album won the Gramophone Editor’s Choice award and was named one of the Apple Music ‘10 Classical Albums You Must Hear This Month’ of February 2024.

2021 saw the highly successful release of his first recital album for Alpha Classics based on a programme of Miniatures including Mussorgsky’s Pictures at an Exhibition.

In 2020 recordings included Rachmaninov’s Rhapsody on a Theme of Paganini with Lucerne Symphony Orchestra under James Gaffigan, recorded on Rachmaninov’s own piano from Villa Senar for Sony Classical and Rachmaninov’s Piano Concerto No.3 with Concertgebouworkest, for the RCO live label. Both recordings were nominated for the 2020 Opus Klassik awards in multiple categories.

A DVD of his BBC Proms debut in 2016 with Münchner Philharmoniker was released in 2018. His 2012 debut CD of Liszt, Saint-Saëns and Prokofiev for Decca won the Choc de Classica and Diapason Découverte, and his first concerto disc for the label featured Prokofiev’s Piano Concerto No.3 and Tchaikovsky’s Concerto No.1.

Born in Tashkent, Uzbekistan, in 1990, Behzod began the piano aged five as a pupil of Tamara Popovich at Uspensky State Central Lyceum in Tashkent.

In 2009, he won first prize at the London International Piano Competition with Prokofiev’s Piano Concerto No.3. He studied with Stanislav Ioudenitch at the International Center for Music at Park University, Missouri, where he is Artist-in-Residence.

Violinist Daniel Lozakovich’s majestic music-making has left critics and audiences spellbound. “Perfect mastery. An exceptional talent,” observed Le Figaro after a performance in Verbier Festival, while the Boston Globe praised the “poise, tonal purity, and technique to spare” of his debut with the Boston Symphony Orchestra and Andris Nelsons at the Tanglewood Festival in July 2017.

Daniel was born in Stockholm in 2001 and began playing the violin when he was almost seven. He made his solo debut two years later with the Moscow Virtuosi Chamber Orchestra and Vladimir Spivakov in Moscow. Lozakovich opened the current season with his debut appearance at the BBC Proms, performing Brahms with BBC Symphony Orchestra and Fabien Gabel in Royal Albert Hall.

He is the season’s Artist in Residence with Orchestre Philharmonique de Monte-Carlo, performing concertos and recitals across the season.

This season dates includes Oslo Philharmonic under Klaus Mäkelä, Subscription series debut with Filarmonica della Scala in Teatro Alla Scala conducted by their Music Director Riccardo Chailly, Singapore Symphony, Royal Stockholm Philharmonic, Orchestre de la Suisse Romande, Orchestre Philharmonique de Luxembourg, and Seoul Philharmonic Orchestra.

Lozakovich now regularly performs with leading orchestras and the world’s eminent conductors including Adam Fischer, Semyon Bychkov, Christoph Eschenbach, Neeme Järvi, Cristian Măcelaru, Kazuki Yamada, Vasily Petrenko, Lahav Shani, Tugan Sokhiev, Dina Slobodeniouk and Lorenzo Viotti.

As a touring artist he has undertaken engagements in Japan with the HR- Sinfonieorchester under Andrés Orozco-Estrada and Asia with Valery Gergiev. Highlight performances in North America are with the Chicago Symphony Orchestra, Cleveland Symphony Orchestra conducted by Klaus Mäkelä, Pittsburgh Symphony Orchestra and The Philadelphia Orchestra led by Nathalie Stutzmann, Boston Symphony Orchestra under Andris Nelsons and Los Angeles Philharmonic conducted by Esa-Pekka Salonen.

A highly sought-after recitalist, Lozakovich performs his recital debut at the Grand Hall of The Concertgebouw this season and next season in Carnegie Hall. He has made appearances in historical theatres and halls as a recitalist at the Théâtre des Champs-Élysées, Fondation Louis Vuitton, Tonhalle Zürich, Victoria Hall Geneva, Conservatorio G. Verdi Milan,

Mariinsky Theatre and more. On tour he has regularly appeared in esteemed concert halls as the Elbphilharmonie Hamburg, The Concertgebouw Amsterdam and the Konzerthaus Wien.

A regular at international music festivals, including the Verbier Festival, the Gstaad Menuhin Festival, Sommets musicaux de Gstaad, Baltic Sea Festival, White Nights Festival, Festival de Pâques – Aix-en-Provence, Tanglewood Music Festival, Blossom Music Festival, Pacific Music Festival, Corinthian Summer Music Festival in Austria, Colmar Festival, Festival de Saint-Denis, Tsinandali Festival and many more. As a chamber musician, he has collaborated with such artists as Emanuel Ax, Ivry Gitlis, Mikhail Pletnev, Sergei Babayan, Martin Fröst, Renaud Capuçon, Mischa Maisky, Alexandre Kantorow, Behzod Abduraimov and David Fray.

Aged 15, Lozakovich signed an exclusive recording contract with Deutsche Grammophon, and in 2018 released his debut album of Bach’s two violin concertos in collaboration with the Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks together with the solo Partita No. 2. The album reached number 1 in the all music category of the French Amazon charts and the classical album charts in Germany. “None but the lonely heart”, Lozakovich’s second album, was released in 2019. Dedicated to Tchaikovsky, it includes the Violin Concerto, and the disc was recorded live with the National Philharmonic of Russia and Vladimir Spivakov. “Grammophone“ Magazine named this recording as “Top choice” spanning 70 years of best recordings of Tchaikovsky Violin Concerto.

Lozakovich’s third album, released in 2020, centres on the Beethoven Violin concerto, again recorded live, with the Münchner Philharmoniker under Valery Gergiev, and released as an audio album and e-video, in the 250th Beethoven anniversary year. An incredibly significant project to Lozakovich, who regards the concerto as one of the all-time greatest concerti ever written.

Lozakovich has been awarded many prizes including 1st prize at the 2016 Vladimir Spivakov International Violin Competition and “The Young Artist of the Year 2017” award at the Festival of Nations, the Premio Batuta Award in Mexico, and the Excelentia Prize under the honorary presidency of Queen Sofia of Spain. Lozakovich studied at the Hochschule für Musik Karlsruhe with Professor Josef Rissin from 2012 and graduated with a Master Degree 2021.

Daniel Lozakovich plays the “ex-Sancy” 1713 Stradivari generously loaned by LVMH / MOËT HENNESSY LOUIS VUITTON.

PROGRAM NOTES

Ludwig van Beethoven (1770-1827): Sonata for Violin and Piano in A major, Op. 47 (“Kreutzer”)

In an ideal world the piece you are about to hear would be called the “Bridgetower” Sonata, and in fact some musicians have already begun calling it that. George Bridgetower was a Black violinist whose artistry so delighted Beethoven that in May 1803 he joined the composer at Vienna’s Augarten to present the premiere of the work we call the “Kreutzer” Sonata. The piece was so new that the violinist had to perform the slow movement from Beethoven’s manuscript, practically sight-reading, while the composer played his part mostly from memory.

Though he spent most of his later life in England, Bridgetower was born in what is now Poland of a West Indian father (possibly from Barbados) and a German/ Polish mother. Both parents were in service of princes, John Bridgetower at the courts of the Radziwills and the Esterházys (where Joseph Haydn worked) and Anna Maria Bridgetower at one of the homes of the Thurn und Taxis family.

George had toured Europe as a young violin prodigy, and in 1802 he visited his family in Saxony and decided to see Vienna, too — where Prince Lichnowsky, one of Beethoven’s benefactors, arranged for the two to meet.

Beethoven and Bridgetower became good friends and the former was prepared to dedicate the sonata to him until, as Bridgetower later recounted, the violinist made a negative comment about a woman Beethoven was fond of. In a manner almost as impetuous as that in which he struck Napoleon’s name from the “Eroica” Symphony, Beethoven revoked the dedication to Bridgetower, choosing instead to curry favor by dedicating it to the French virtuoso Rodolphe Kreutzer — in anticipation, perhaps, of a planned move to Paris (which never came to pass).

Portraitby Louis Letronne

Kreutzer declined to perform it, and while the perceptive Hector Berlioz was enchanted with the sonata, he wrote this of Kreutzer: “The celebrated violinist could never bring himself to play this outrageously incomprehensible composition.”

Nevertheless the piece was published in 1804 as “Sonata for pianoforte and an obbligato violin (!) … composed and dedicated to his friend, R. Kreutzer, member of the Conservatory of Music in Paris, first violin of the Academy of Arts, and of the Imperial Chamber, by L. van Beethoven.”

The “Kreutzer” came about during a critical crisis in Beethoven’s creative life — directly on the heels of the upheaval of the “Heiligenstadt Testament” of 1802, a letter in which the composer defiantly wrote that, having failed to find happiness with the opposite sex (and realizing he was going deaf), he would devote himself to music.

“I would have ended my life,” he wrote, rather jarringly, in an epistle that was apparently intended for no one in particular. “It was only my art that held me back.” His new openness to experimentation — first seen in full-blown form in the Op. 47 opening and in the “Eroica” — sparked a gigantic outpouring of masterpieces over the next decade. Symphonies, concertos, and sonatas that “extended Classical harmonic language without violating its spirit,” as Charles Rosen has written.

Op. 47 was markedly different from any of Beethoven’s previous violin sonatas, as he himself acknowledged in designating it a Sonata scritta in stilo molto concertante quasi come d’un Concerto (Sonata written in a very concertante style, almost like a concerto). The opening bars already announce this: The violin begins alone, joined by the piano in an Adagio sostenuto introduction that eventually leads to the “real” first theme (Presto). This passionate tour de force strides forth in A minor (not major!) with a showy vigor that challenges both players.

Listening to this movement, one can well believe that Tolstoy was only half joking when he suggested, in his short story The Kreutzer Sonata, that such music could possibly inspire any us to lasciviousness, jealousy, adultery, and even murder.

The Andante con variazioni is one of Beethoven’s most beguiling sets of variations; it ends with a rhapsodic coda that is almost like a fifth variation. The Presto movement had been rejected from the composer’s Violin Sonata in A major, Op. 30, No. 1. This Presto was deemed too heavy for that light-spirited work but it serves as an ideal foil to Op. 47’s heretofore over-the-top histrionics.

César Franck (1822-1890): Sonata in A major for Violin and Piano

One of Franck’s strongest supporters was the violinist-composer Eugène Ysaÿe, whose advocacy for new French music helped spur the careers not just of Franck but of Debussy, Chausson, and other progressive artists of the day. Franck admired Ysaÿe so much that when the violinist married the singer Louise Bourdeau de Courtrai in 1886, he presented the couple with the most extraordinary of wedding gifts: a new sonata for violin and piano. He probably could not have imagined it would become one of the most popular works in the genre.

Ysaÿe was so moved by the gesture, and by the piece, that he reportedly gave an impromptu performance of the sonata for his wedding guests, joined by the pianist Léontine Bordes-Pène. He continued to champion the sonata throughout his career as a world-renowned virtuoso. “Nothing in the world could have done me greater honor or given me more pleasure than this gift,” Ysaÿe later said of the sonata. “But it is not for me alone, it is for the whole world. … In interpreting it, I shall do my very best as an artist and admirer of César Franck, whose genius has not been adequately recognized up to now.”

Franck had begun his life as a bit of a cultural outsider, a gifted musician who was initially refused entry into the Paris Conservatory because he was of Belgian and German heritage. Yet he produced a steady stream of strong compositions throughout his life and eventually became an influential Conservatory professor who counted among his protégées Ernest Chausson, Vincent d’Indy, and Henri Duparc.

The opening movement (Allegretto ben moderato) is a miracle of poise and calm that establishes the sonata’s primary thematic material — music that is used throughout the piece in a cyclical manner that looks to later experiments of Berlioz and Liszt. The second movement (Allegro) is a Schumannesque toccata, mitigated with moments of tender respite. An impassioned vocalise in the violin

Photo by PierrePetit

forms the heart of the Ben moderato: Recitativo-Fantasia movement. The ingenuous innocence of the finale (Allegretto poco mosso) belies a serious-minded purpose explored in the development section; and a satisfying coda exudes the joy and optimism of the event the sonata was written to celebrate.

Later that year, at the Museum of Modern Art in Brussels, Ysaÿe presented the sonata’s first public performance. Vincent d’Indy, who was present, described the remarkable event, and with no little whimsy:

“It was already growing dark as the sonata began. After the first Allegretto, the players could hardly read their music. Unfortunately, museum regulations forbade any artificial light whatever in rooms containing paintings; the mere striking of a match would have been an offense. The audience was about to be asked to leave, but, brimful with enthusiasm, they refused to budge. At this point, Ysaÿe struck his music stand with his bow, demanding, ‘Let’s go on!’ “Then, wonder of wonders, amid darkness that now rendered them virtually invisible, the two artists played the last three movements from memory with a fire and passion that was all the more astonishing in that there was a total lack of the usual visible externals that enhance a concert performance.

“Music, wondrous and alone, held sovereign sway in the blackness of night. The miracle will never be forgotten by those present.”

Portraitby

Robert Schumann (1810-1856): Sonata No. 1 for Violin and Piano in A minor, Op. 105

As the foremost figure among the first generation of musical Romantics, Schumann must count among the great experimentalists in music. Like Berlioz and Liszt, he took nothing for granted, and he assumed no formal or aesthetic precedence as gospel. And despite a comprehensive knowledge of music of the past, he continually questioned the presuppositions behind Bach’s fugues, Haydn’s string quartets, Beethoven’s symphonies, even Schubert’s Lieder.

As a pianist he was fully aware of the rich keyboard works of Bach and Beethoven, for example, but when he began writing piano music in the 1820s and ‘30s he produced a series of “character pieces” that had little precedent. When he started composing Lieder around 1840, he devised cyclic techniques for unifying groups of songs that had deep implications for later composers’ views of musical structure. His Symphony in D minor (later revised as No. 4) brought this cyclic notion into the symphonic realm, in a work that musicians still puzzle over.

When Schumann sat to down compose his First Violin Sonata in September of 1851, he had already produced nearly all the music by which he is known today: the four symphonies, most of the operas and choral works, a vast array of piano solo works, concertos for piano and cello, the great song cycles, and the too-little-known Scenes from Goethe’s Faust

Just 41 years old, the musician and critic had recently assumed the position of municipal Kapellmeister in Düsseldorf, where he conducted an orchestra and, starting in the fall of 1851, organized local musicians into chamber ensembles. But the situation was hardly rosy. Schumann was showing increased symptoms of bipolar disorder, depression, tinnitus, and possibly advanced-stage syphilis. He began hearing angelic voices — choirs that at times sang whole compositions by Bach. He complained of hearing a persistent “A” ringing in his ear. And some believe he might have also been suffering from lead poisoning, the side-effect of a one of the more common syphilis treatments.

Josef Kriehuber

That he was able to compose works as remarkable as the Violin Sonatas 1 and 2 and the A-minor Piano Trio during this period is a testament not only to his genius but to his internal fortitude and stubborn work ethic. Alas, within just five years of completing these two sonatas, Schumann began to hear demonic voices instead of angelic ones. After a suicide attempt (he threw himself into the icy waters of the Rhine), he entered an asylum, where he would spend his sad final months.

One of Schumann’s closest friends was the Hamburg-born violinist Ferdinand David, a former concertmaster of the Gewandhaus Orchestra in Leipzig and the kind of friend who loans you money when you really need it. In January 1850, having just become acquainted with the Fantasy Pieces for Clarinet (Op. 73), David wrote to Schumann: “Your Fantasiestücke … I find so charming! I wonder why don’t you compose anything for violin and piano? The genre is so lacking in anything solid and new, and I don’t know anyone who could do it up better than you.”

It was David who performed the public premiere of the First Sonata in A minor, Op. 105, in March of 1852. Schumann’s wife — composer and world-renowned concert pianist Clara Schumann — was at the keyboard. Shortly afterward, Schumann completed the Second Sonata in D minor, Op. 121; a third followed in 1853.

The orchestrally conceived opening movement of Op. 105 (Mit leidenschaftlichem Ausdruck, “With passionate expression”) places the violin line mostly in the middle of the mesmerizing piano filigree, rather than above it. With free use of canon throughout (imitative figures between violin and piano) and a rather free-wheeling approach to sonata form, this elusive movement finds its way into the mind and the heart.

Some have called the Allegretto a fusion of scherzo and slow movement, but if you sit up and listen closely, you might find that the alternating sections form an organic whole. The hypercharged finale (Lebhaft) similarly presents two very different ideas, one a turbulent perpetual-motion machine (again with liberal use of canon) and the other a more expansive but nevertheless undeniably resolute expression of intensity and something resembling exasperation.

—Paul Horsley

MARCH 1 , 2025

KAUFFMAN CENTER

PRESENTED BY P ARK UNIVERSIT Y

PARK ICM FOUNDATION BOARD

The Park University International Center for Music Foundation exists to secure philanthropic resources that will provide direct and substantial support to the educational and promotional initiatives of the International Center for Music at Park University. With unwavering commitment, the Foundation endeavors to enhance awareness and broaden audiences across local, national, and international spheres.

Vince Clark, Chair

Steve Karbank, Secretary

Benny Lee, Treasurer

Marilyn Brewster

Lisa Browar

Stan Fisher

Brad Freilich

Holly Nielsen

Ron Nolan

Shane Smeed

John Starr

Steve Swartzman

Guy Townsend

Angela Walker

Front row, from left – Stanley Fisher, Marilyn Brewster, Benny Lee, Ronald Nolan, Lisa Browar. Back row, from left: John Starr, Steve Swartzman, Vince Clark, Shane Smeed, Bradley Freilich, Guy Townsend, Steve Karbank. Holly Nielsen and Angela Walker out of camera range.

PARK ICM FACULTY & STAFF

PICTURED L-R:

Gustavo Fernandez Agreda, ICM Coordinator

Daniel Veis, Cello Studio

Lisa Hickok, Executive Director

Ben Sayevich, Violin Studio

Lolita Lisovskaya-Sayevich, Director of Collaborative Piano

Steven McDonald, Director of Orchestra

Stanislav Ioudenitch, Founder & Artistic Director, Piano Studio

Peter Chun, Viola Studio

Not pictured: Behzod Abduraimov, Artist-in-Residence

Photo: Damian Gonzalez

ParkICM Orchestra’s Season Finale

Park University will present its final concert of the 2023-24 season on Friday, April 19th at the charming chapel on campus in Parkville, Missouri. Guest Maestra Yahr has selected a program of works by Jan Sibelius, Karl Stamitz and Felix Mendelssohn.

PARK ICM ORCHESTRA WITH BARBARA YAHR CONDUCTING

April 19, 2024, 7:30 p.m.

Graham Tyler Memorial Chapel

CONCERT IS FREE WITH RESERVATION.

SCAN THE CODE TO RSVP.

ICM.PARK.EDU.

PARK INTERNATIONAL CENTER FOR MUSIC

PATRONS SOCIETY

SUPPORT THE ICM, ENJOY BEAUTIFUL MUSIC AND SPECIAL EVENTS JUST FOR MEMBERS

BELOW ARE JUST A FEW OF OUR PATRONS ENJOYING GROUP EVENTS INCLUDING MEETING THE TALENTED ICM ARTISTS

FOR MORE INFORMATION ON HOW TO JOIN OUR PATRONS SOCIETY:

John and Karen Yungmeyer

Brad and Theresa Freilich, Evelina Swartzman, Shane Smeed and Steve Swartzman

Stanislav Ioudenitch, Angela Walker and Edith and Benny Lee

Ronald and Phyllis Nolan and Vince and Julie Clark

Lolita Lisovskaya-Sayevich, Evelina Swartzman and Ihab and Colleen Hassan

PARK INTERNATIONAL CENTER FOR MUSIC

PATRONS SOCIETY MEMBERS

The Park University International Center for Music’s Patrons Society was founded to help students achieve their dreams of having distinguished professional careers on the concert stage.

Just as our faculty’s coaching is so fundamental to our students’ success, our Patrons’ backing provides direct support for our exceptionally talented students, concert season, outreach programs and our ability to impact the communities we serve through extraordinary musical performances.

We are continually grateful for each and every one of our Patrons Society members. For additional information, please visit ICM.PARK.EDU under “Support Us.”

We gratefully acknowledge these donors as of February 20, 2024. * 2023-2024 Member

SCHOLARSHIP

Brad and Marilyn Brewster *

Steven Karbank *

Benny and Edith Lee *

Ronald and Phyllis Nolan *

John and Debbie Starr *

Steven and Evelina Swartzman *

Jerry White and Cyprienne Simchowitz *

SUPERLATIVE

Richard J. Stern Foundation for the Arts – Commerce Bank, Trustee *

SUPREME

Jeffrey Anthony *

Brad and Theresa Freilich *

Shirley and Barnett C. Helzberg Jr. *

Lockton Companies Inc.

Muriel McBrien Kauffman Family Foundation

Holly Nielsen *

Mark Ptashne and Lucy Gordon

Steinway Piano Gallery of Kansas City *

Gary and Lynette Wages *

EXTRAORDINAIRE

Tom and Mary Bet Brown

Vince and Julie Clark *

The DeBruce Foundation

Stanley Fisher and Rita Zhorov *

Edward and Sandra Fried

Mark One Electric Co.

Susan Morgenthaler *

Perspective Architecture & Design, LLC / Matt and Rhonda Masilionis

William and Susie Popplewell

Rex and Lori Sharp

PATRON

Kay Barnes and Thomas Van Dyke *

Lisa Browar *

Bryan Cave Leighton Paisner

Wm. Robert Bucker

Cluen Family Fund

Mark and Gaye Cohen *

Paul and Bunni Copaken

Suzanne Crandall *

Scott and Claudia Davis

Beverly Lynn Evans

Paul Fingersh and Brenda Althouse

Jack and Pella Fingersh

J. Scott Francis and Susan Gordon

Donald Hall

Doris Hamilton and Myron Sildon *

Colleen and Ihab Hassan *

Lisa Merrill Hickok *

JE Dunn Construction Company

William and Regina Kort *

Dean, ‘53 and Charlotte Larrick

Brian McCallister / McCallister Law Firm

Mira Mdivani / Mdivani Corporate Immigration Law Firm

Jackie and John Middelkamp *

Louise Morden

Kathleen Oldham *

Susan and Charles Porter

Kevin and Jeanette Prenger, ’09 / ECCO Select *

Steve and Karen Rothstein

Stanley and Kathleen Shaffer *

Shane and Angela Smeed *

Straub Construction

Guy Townsend *

John and Angela Walker *

Nicole and Myron Wang *

WSKF Architects

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